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gd

by gd

Published October 2, 1977


This source has no formal info file. here's what the etree database has

10/02/77 Paramount Theater
Comments: WBOTB tree;
Complete show-- source tape: MR>P2>D1); 7" two track BBD reel w/ DBX-1 @ 7 1/2 ips > PCM501ES @ 44.055 kHz; PCM501ES analog out > DBX-1 decoder > analog in PCM501ES; PCM501ES analog out > Fostex D5 @ 48 kHz;
Casey Jones, brief low-level crackle, poss bad mic;
Wharf Rat ~30 sec section of analog tape damage leading to a cut during the song.


Contributor SugarMegs

Notes

There is an illegal bootleg available that apparently has no cut in Wharf Rat, but the cut has been edited out and the song is about 30 sec shorter than on the Betty reel. No EQ has been performed. You hear what is on the Betty reels.;
note md5s listed here were taken from gdlive.com, 1/2/01- presumably from the same 7/99 shn set

disc 1:
1. Casey Jones
2. Jack Straw
3. Sunrise
4. Brown Eyed Women
5. El Paso
6. Dupree's Diamond Blues
7. Let It Grow
8. Deal
9. Scarlet Begonias-
10. Fire On The Mountain

disc 2:
1. Samson & Delilah
2. Finiculi Finicula
3. Playin' In The Band-
4. Drums-
5. The Wheel-
6. Truckin'-
7. The Other One-
8. Wharf Rat-
9. Sugar Magnolia

* - Johnny B. Goode (encore) is missing

Notes taken from text file:
Casey Jones has brief low-level crackle possibly due to a bad microphone; Wharf Rat has a thirty-second section of analog tape damage leading to a cut during the song. There is an illegal bootleg available of this date that apparently has no cut in Wharf Rat, but the cut has been
edited out and the song is about 30 seconds shorter than on the Betty reel. No EQ has been performed. You hear what is on the Betty reels, as best as we can get it to you.

Extra information:
These tapes are from Betty Cantor's personal stash. For whatever reasons, she abandoned these tapes (and other property) in a rented storage locker back in 1986. After giving Betty repeated opportunities to catch up on back rent, or to remove her property, the owner of the storage facility legally sold the contents of the locker at an auction. The tapes were sold in batches to several people. One of these batches (62 shows worth) made its way into the hands of some deadheads, and was put into general circulation in the taper community. Bless them again! The first great wave of Betty Boards began hitting the streets by 1987. They revolutionized tape collecting. I still remember the joy I felt back in 88 or 89 when another batch of Betty Boards would come my way. By 1996, however, a lot of the Betty Boards in circulation are hi-gen and fragmented. Even many of the DAT copies out there are actually copies of old analog tapes. Given the quality of what was in general circulation, most folks have never really heard a Betty Board. Until recently, that included
me. These tapes are great folks. You don't just get to hear the clang and hiss of a cymbal, but to hear the wood striking the metal disk, the clang and shake and wobble of the hissing cymbal. Believe me friends, you ain't never heard a Betty Board before. These tapes, although based on two track reels spun directly from the soundboard, should not be confused with soundboards that have been released in recent years. For one thing, many of the soundboards that the Dead have allowed to sneak out seem to have been slightly salted in one way or another to degrade the sound
quality. These Betty Board tapes are pure and sweet, with no salting: they are better! For another thing, these Betty Boards reflect the limitations of working with 7" or 10" reel to reel tapes: sometimes a tape breaks off in the middle of a song; sometimes you can hear the tape spin up to speed at the beginning of a song. There are a few unpleasant reel flips here and there. Remember, these tapes were originally recorded many years ago by hippies on drugs!

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